Thursday, January 23, 2014
Gone are the days of being able to enjoy home alone
Caitlyn and Gene Brooks spent the holiday weekend in Gulfport, with Debi and Bert Bordelon.
With all of the break-ins and robberies, it makes one wonder what to do in case of crime in our area. I have called the police department on numerous occasions and have always been greeted by a sweet and calming voice. The ladies who answer the phone always give good advice – make sure you keep your doors and windows locked and just be cautious. Gone are the days of being able to actually enjoy being home alone!
Over the weekend, a neighbor of ours had her car gone through. Her daughter was Johnny-on-the-spot, snapping pictures of the would-be thief. With social media the way it is now, the picture of the culprit has made its way all around Facebook, with those of us in town tagging each other.
It would be nice to know what the legalities are in case of a shooting. Is your vehicle an extension of your home? Are you legally able to shoot someone who is breaking into your car?
Hmmm, maybe a town meeting is in order for those of us who want to know our rights in protecting ourselves, our families and our properties? Certainly something should be done - locked and loaded.
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May-Permenter say vows in October 5 ceremony
Laura Catherine May and Cooper Warren Permenter were united in marriage at 7 p.m. on October 5, 2013, at First Presbyterian Church in Jackson. The service was officiated by the Rev. Dr. Ligon Duncan and the Rev. David Felker.
The bride is the daughter of Dr. and Mrs. George William May Jr. of Jackson. She is the granddaughter of the late Mr. and Mrs. John Deloy Thomas of Hattiesburg and the late Mr. and Mrs. George William May of Jackson.
The bridegroom is the son of Mr. and Mrs. Fred Cates Permenter Jr. of Ripley. He is the grandson of Mrs. James W. Warren and the late Mr. James W. Warren of Holly Springs and the late Mr. and Mrs. Fred Cates Permenter of Ripley.
Nuptial music was presented by Dr. Bill Wymond, organist, and Donna Schaffer, pianist. The instrumentalists were Anton Zholondz and Vera Zholondz, violinists. Libby Hodges was the vocalist.
Given in marriage by her father, the bride wore a gown by Marisa of re-embroidered Alencon lace fashioned with a sweetheart neckline closed with covered buttons down the back. A scalloped, beaded belt encircled the natural waistline of the fitted dress, and the slightly flaired hemline swept into a chapel train. With her gown she wore a long veil of illusion edged from the fingertips to the end with a deep border of lace matching that on her bridal gown. She carried a hand-tied bouquet of juliet, ohara, white polo and patient garden roses along with white hydrangeas.
Along with her bouquet, she carried a hand-embroidered handkerchief that had been carried by her mother and her sister.
Elizabeth Meadows and Caroline May, sisters of the bride, served as matron of honor and maid of honor. Bridesmaids were Rachael Borne, Laura Cole, Sarah Ford, Toy Gathings, Sara Hazard, Yancy Love, Jemison Matthews, Melanie May, Laney Mayfield, Grace Pearson, Veazey Tramel, Anne Webb, Anna Wells and Mary Cates Williams, sister of the groom.
They each wore dresses of falcon grey, crinkle chiffon with one-shoulder, sweetheart necklines and floor-length, draped skirts falling from shirred, cummerbund waistlines.
The flower girls were Isabelle Anderson and Ella Cornelison, cousins of the bride. They each wore an ankle-length dress made of ivory Swiss Nelona. Each had a soft pink, Madeira appliqué monogram, as well as stitching around the yoke and keyhole opening in the back. They were accented with soft pink, organdy sashes and mother-of-pearl buttons. Honorary bridesmaids were Shannon Buell, Rebecca Carter, Caroline Cowan, Katherine Cox, Mary Margaret Myers, Julia Morgan Stone, Maggie Tidwell and Marita Walton. Gresham Hodges served as the bride’s proxy.
Program attendants were Virginia Grayson, Memory Madden, Caroline McDaniel and Allison McDill.
Fred Cates Permenter Jr., the groom’s father, was best man. Groomsmen were Chris Byrd, Roger Cook Jr., Russell Cook, Hunter Ferguson, Freddie B. Fortier, Wiley Hutchins, David Legg Jr., Wolly Legg, Robert Lomenick, Will May, Read Meadows, Field Norris, Christian Reed, Brad Smith, Mick Ursic and Robert Williams.
The ring bearers were Brian Cornelison, cousin of the bride, and Charlie Coombs, cousin of the groom.
Following the ceremony, the bride’s parents hosted a reception at the Country Club of Jackson. The bride’s cake table featured a bustled, ivory silk tablecloth with a mirrored tabletop and the five-tiered cake held ohara, patience and juliet garden roses. The guests dined and danced to the music of Compozitionz. On the eve of the wedding, the bridegroom’s parents hosted the wedding party and family with a rehearsal dinner at the River Hills Club. The day before the wedding, the bridesmaid’s luncheon was held at the home of Mr. and Mrs. John Pearson. Mr. and Mrs. Joe Roberts hosted a luncheon on the day of the wedding for the bridal party and out- of-town guests.
After a wedding trip to Antigua, the couple is at home in Olive Branch.
An interview with Mary Walker Gatewood
It was a rainy day in December when I initially interviewed Mary Walker Gatewood at her home in Holly Springs. Since then, I’ve debated more than once just how to approach her story. My early drafts seemed, to me, to be too mechanical to portray one of our town’s beloved matriarchs. Finally, I settled in on a narrative. Because this piece has turned out to be quite lengthy, I’m dividing this article into two parts, which will run in two separate issues of The South Reporter. Each part has, likewise, been subdivided into vignettes for easy reading.
This is part one.
“I was a token woman.” A joke. The words slip casually through her lips, dovetailed by a slight cackle. She was not expected to participate at all.
But like the crepe myrtle bush that thrived on her family’s Mississippi farm, “The Home Place,” Mary Walker Gatewood had been planted there with a purpose to grow. She took root in her new role, and blossomed. Of course, she would participate.
Even now, at the age of 93, Gatewood has a strong sense of social responsibility. She follows town hall meetings on TV when she can’t attend, and phones in her thoughts. Sometimes, she sends letters of formal complaint, particularly if something strikes her as unjust. But she isn’t just a small town watchdog. Her journey from Holly Springs to Washington, then to New York and back again, has instilled this sense of purpose earnestly. Experience has taught her that change comes with persistence, and community dedication.
With my tape recorder running, she tells me how this experience started with a good education.
It was high praise, indeed. When she went to the University of Mississippi (Ole Miss) for her bachelor’s, the dean said she had a “very good education” at the Mississippi Synodical College.
And it was. “It was a good education with all the basics,” she says, and then reiterates. She remembers the compliment fondly. It was the early ’60s, and she had just returned from 25 years spent in Washington and New York, working as a secretary for the government. Now, she was studying for a bachelor’s degree in English and political science.
It seemed like a simple compliment to me, but she sat up just a bit straighter as she remembered it. So when I transcribed our interview, I did some research and found that a woman’s education in the 1930s wasn’t always a good one. And a “good education” for women certainly wasn’t what it would have been in the ’60s. For a dean in the 1960s to pay such a compliment was, again, high praise, indeed.
To elaborate on this point, I’ll quote from the historical essay “College Women in the 1930s,” by Erin Brisbay (written in 1990):
“For the women who did manage to go to college in the 1930s, the atmosphere on campus was sobering. Discouraged from pursuing courses outside the liberal arts, denied leadership positions on campus, and pressured into marriage, women found many career paths closed to them.
“They could not build on the many achievements that had been made in the early 1900s because the social pressures of the 1920s and the economic instability of the 1930s had created an environment hostile to their advancement. Those women who pursued higher education during the depression suffered a restriction of the educational and career opportunities available to them.”
The essay goes on, but to summarize, it was commonly believed that a college education was harmful for a woman’s emotional well-being, and damaging for her marital prospects. Collegial institutions divided their curriculum by what was gender-appropriate, if they offered anything for women at all. Separate schools for women were developed during those years, but lessons were usually watered down, or emphasized art and music over math and science. The Mississippi Synodical College was an all-girls junior college that had recently become coeducational. It offered a classical education in the early 1900s. Gatewood was in the last graduating class, just before the school merged with Belhaven University and moved to South Mississippi. Other schools during that time were merging due to financial trouble, so it’s assumed this was the issue with Synodical as well.
Gatewood received her certificate from the Mississippi Synodical College in 1938, and graduated from Ole Miss with her bachelor’s in 1966.
“If you’d look up there in those yearbooks (at the Marshall County Historical Museum), I’m sure you can find me,” she says.
And I did. I searched the museum’s School Room and Library before finding her right by the front door. Her graduating class picture from Synodical, dated 1938, was hung above the guestbook of the Marshall County Historical Museum, next to the information plaques about the museum’s architecture.
The museum occupies one of the only remaining buildings of the Mississippi Synodical College, or what used to be the art studio and girls dormitory.
End of part one. Be on the lookout for another “report from the museum,” a bi-weekly article from the Marshall County Historical Museum, in The South Reporter.
In the meantime, if you would like to learn more about Marshall County history, you can visit the Marshall County Historical Museum anytime between 10 a.m. and 4 p.m. Monday through Friday. Saturdays are by special arrangement. Call 662-252-3669 for details.
We are also happy to announce that our neighbor down the street, The Kate Freeman Clark Art Gallery, is now open at regular hours Tuesday through Friday from 10 a.m. to 3 p.m.
Holly Springs town hall meetings are filmed by Rust College, and are televised Thursday evenings on RCTV2.
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